Mary’s out again today – and she had enough trust to leave ME in charge of the Song of the Week (SOW) today.So here we go…

This week’s song has (justifiably) been discussed in the BW community sometime before – but it’s yet to show up on the ever-important SOW chart, so it was an easy choice for me. Written by Brian for others, but (ultimately) produced by Carl for the Beach Boys, “Time to Get Alone” is pure pleasure.A waltz in a baroque pop style, recorded fifty years ago…but sounding forever fresh.

Perhaps one of the reasons I like this song so much has to do with the descending bass line.Several of Brian’s walking bass lines just plain grab me.In “Inside the Music of Brian Wilson”, Philip Lambert notes that our SOW, like many songs from “Pet Sounds”, and “Good Vibrations”, have descending bass lines (so there you go).The other reason I love it is the VOCALS.Carl and Brian share the lead on this, with the famous Beach Boys blend throughout – pure musical bliss.

One of the versions below was on last year's “1967-Sunshine Tomorrow”.Still, “Time to get Alone” could surely be on my fantasy ‘1968’ (see avatar) along with highlighted sessions from the LP “Friends” and other period greats like “I Went to Sleep” or Carl’s production of the Barry-Greenwich-Spector song “I Can Hear Music” (which I much prefer over The Ronettes’ version).“20/20”, for all its thematic murkiness, was a pretty good vehicle for some pretty awesome songs.

The great ‘D e e p & W i d e’ version –

The (equally) great “1967 – Sunshine Tomorrow” (earlier) version –

Whoops, here’s another great version – this one a cappella (thanks to Ang) –

Of course, a good Brian Wilson song sometimes comes with adverse baggage (not Brian’s).In this case, there were one or two bandmates that interfered with Brian’s efforts to branch out his production efforts for a new band called ‘Redwood’.We know them as ‘Three Dog Night’ – very popular in the ‘70s in the U.S./Canada, and New Zealand (Hi Bonnie). Our SOW was originally written for them.Here’s their version –

A great pick, bugs. I think you are doing just fine for Mary.This song has such depth. The melody, the harmonies, the lilting cadence. It's got Carl's angel voice (as demonstrated by the a capella, thanks, Ang). What more could you ask for?Twenty-four carat pure gold.

__________________“How Can You Be in Two Places at Once When You're Not Anywhere at All”

A song that took on a special meaning for me recently when, unexpectedly, I needed a new car. (Uh-hmm).

One of those obviously great songs that exists in several versions, none of which are quite definitive. I probably favour the Three Dog Night stand alone, although I'm not keen on the shouty bit with the fade-back-in. The alternative Beach Boys take sounds too bare vocally, while the overdubbed 20/20 version is a little schmushy as a production. But ultimately I think the song works best as a part of that album, something true of several of the tracks on the enigmatic 20/20.

Bugsy, A GRAND choice. Always loved it. It was one of my coffee house songs in college. Brian was in his back to basics but was STILL into production - so along with Darlin', Break Away and Do It Again, the great Brian Wilson tracks, post Smile.

The voice only is quite amazing. But the instruments chosen - very interesting. The harpsichord (or whatever) sounds backwards. Sleighbells present 😉 Glocken also. The horns are used so well. The strings in the tag - going major to minor.

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